is one of the
many fictions we find in galleries. In the Doria Gallery there is a
life-sized figure of an Amazon with a helmet in her hand, ascribed to
Dosso Dossi, which is said to be a likeness of Vannozza.

Monsignor Antonelli, custodian of the numismatic collection of Ferrara,
has a portrait in oil which may be that of Lucretia Borgia,--not because
it has her name in somewhat archaic letters, but because the features
are not unlike those of her medals. This portrait, however (the eyes are
gray), is uncertain, as are also two portraits in majolica in the
possession of Rawdon Brown, in Venice, which he regards as the work of
Alfonso himself, who amused himself in making this ware. Even if there
were any ground for this belief, the portraits, as they are merely in
the decorative style of majolica, would resemble the original but
slightly.

The portrait in the Dresden gallery which is catalogued as a likeness of
Lucretia Borgia is not authentic. There are no undoubted portraits of
her except those on the medals which were struck during her life in
Ferrara. One of these is reproduced as the frontispiece[246] of the
present volume; it is the finest of all and is one of the most
noteworthy medals of the Renaissance. It probably was engraved by
Filippino Lippi in 1502, on the occasion of Lucretia's marriage. On the
reverse is a design characteristic not only of the age but especially of
Lucretia. It is a Cupid with out-stretched wings bound to a laurel,
suspended from which are a violin and a roll of music. The quiver of the
god of love hangs broken on a branch of the laurel, and his bow, with
the cord snapped, lies on the ground. The inscription on the reverse is
as follows: "Virtuti Ac Formae Pudicitia Praeciosissimum." Perhaps the
artist by this symbolism wished to convey the idea that the time for
love's free play had passed and by the laurel tree intended to suggest
the famous house of Este. Although this interpretation might apply to
every bride, it is especially appropriate for Lucretia Borgia.

Whoever examines this girlish head with its long flowing tresses will be
surprised, for no contrast could be greater than that between this
portrait and the common conception of Lucretia Borgia. The likeness
shows a maidenly, almost childish face, of a peculiar expression,
without any classic lines. It could scarcely be described as beautiful.
The Marchesana of Cotrone spoke the truth when in writing to Francesco
she said